It’s early days, but generosity inspires greater generosity, hence the tour of WNT fundraiser Playing Burton with Matthew Rhys, who saw what Sheen was doing and wanted to follow suit. Who could be anything but enticed by the prospect of the two productions announced for 2026: a Welsh-set version of Thornton Wilder’s Our Town and Gary Owen’s Owain & Henry, both of which will star Sheen? It will take longer to see what impact the WNT has on the talent pipeline, but you have to admire Sheen for putting his money, presence and passion behind the project and giving back to the place he comes from, the rich culture that formed him and the theatre industry that gave him his chances. 

Sheen has always been a doer. One of my most memorable theatrical experiences was the NTW/Wildworks co-production of The Passion, which took place largely outdoors all over Port Talbot over the Easter weekend of 2011. I don’t think it was a lack of offers in Hollywood or London that brought Sheen to Port Talbot to star in and co-direct the piece, but rather the desire to be part of something bigger than himself, and to reconnect with the people of the town where he was raised. More than 1,000 local people of all ages performed alongside him in many different ways. 

I love it when that generosity of spirit shines in theatre: see Jodie Comer touring Prima Facie rather than deciding she is strictly a West End/Broadway performer. The same spirit propelled Ian McKellen to visit theatres across the UK in his 81th year. Such stamina, spreading such joy. He topped The Stage 100 for that feat back in 2020 – the first actor to do so. 

Who wouldn’t be delighted to find that sleepy Pitlochry is suddenly the centre of the theatrical universe?

With Sheen in Wales and Alan Cumming in Pitlochry, the celebrity artistic director may be a thing not seen since Kevin Spacey took over London’s Old Vic in 2003. High-profile casting can provide opportunities for others and make productions happen; a celebrity artistic director can do the same. But it requires a sustained commitment with a long-term strategy, rather than a flurry of fireworks whose glow dissipates after a couple of seasons, leaving no real lasting legacy. 

It’s fun to see Cumming putting his address book to inventive use – who wouldn’t be delighted to find that sleepy Pitlochry is suddenly the centre of the theatrical universe? But the big question is whether it’s an approach that is sustainable and serves everyone. If he tires of the task too quickly, the danger is that the theatre will find itself with its old model broken and a new model unmaintainable by any mere mortal succeeding as artistic director once the party is over. 

I’d reckon that Sheen’s slow and steady approach is likely to be the most fruitful, but I wish both every success, applauding their desire to make a difference. As theatre heads into a new year that will bring many challenges, we should enjoy that these stars are bringing glamour and headlines to the art form.